The Resistible Rise of Arturo Ui: A Morality Play for a World That Has Mislaid Its Morals

Sometimes a playwright seizes history by the throat, shakes it like a terrier with a stolen bone, and shouts: ‘Look at this — don’t you dare look away again.’ Bertolt Brecht’s The Resistible Rise of Arturo Ui is one such moment: a gangster parable masquerading as a clown show, a political sermon delivered by a … Continue reading The Resistible Rise of Arturo Ui: A Morality Play for a World That Has Mislaid Its Morals

Ubu Roi: The Crown, the Curse, and the Colossal Belly of Human Folly

If Gogol showed us corruption, and Beckett showed us despair, then Alfred Jarry — bizarre, bicycle-riding prophet of the avant-garde — showed us what happens when civilisation finally gives up pretending to be civil. Ubu Roi isn’t a play; it’s a cultural detonation, a theatrical act of vandalism so gleefully grotesque that even today it … Continue reading Ubu Roi: The Crown, the Curse, and the Colossal Belly of Human Folly

The Government Inspector: A Farce in Which Humanity Trips Over Its Own Shadow

Been a while since I looked at a play. So.. There are moments in literature when I realise the human race isn’t merely flawed but gloriously, catastrophically absurd. Gogol understood this long before Beckett ever let Vladimir and Estragon wander out onto a dusty road to wait for a man who’d never come. If Waiting … Continue reading The Government Inspector: A Farce in Which Humanity Trips Over Its Own Shadow

Wilde’s Salomé: A Decadent Dance with Death

It’s almost too neat that Salomé should have been written in French. The language of Baudelaire, Mallarmé, and decadence itself lent Wilde the perfect tongue for blasphemy dressed in silks. The Victorians expected their theatre to teach morality, to improve the soul, to extol duty. Wilde offered them instead a necrophilic waltz in candlelight, where … Continue reading Wilde’s Salomé: A Decadent Dance with Death

Gaslight and Gossamer: Reflections on Iolanthe and the Art of British Satire

There’s something deliciously subversive about walking into a Victorian comic opera knowing full well that you are about to be lampooned, along with everyone else in the room. Iolanthe has always struck me as a peculiar miracle - one of those rare works of art that wears its mischief lightly, yet rests on a foundation … Continue reading Gaslight and Gossamer: Reflections on Iolanthe and the Art of British Satire